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Sun May 11, 2008
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Sun May 11, 2008
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THE OTTO KINKELDEY AWARD
This award was inaugurated in 1967 to recognize the most distinguished book in musicology published during the previous year.
It is named after Otto Kinkeldey, Honorary President of the Society until his death in 1966. He held the first chair in musicology at a university in the United States at Cornell University between 1930 and 1946, was a charter member of the Society, and served as its President in 1935–36 and 1941–42.
RECIPIENTS
| 2007 | Philip Gossett | Divas and Scholars: Performing Italian Opera (University of Chicago Press, 2006, ISBN 0226304825) |
| 2006 | Richard Taruskin | The Oxford History of Western Music (Oxford University Press, 2005, ISBN 0195169794) |
| 2005 | Susan McClary | Modal Subjectivities: Self-Fashioning in the Italian Madrigal (University of California Press, 2004, ISBN 0520234936) |
| 2005 | Finalist: Ruth A. Solie | Music in Other Words: Victorian Conversations (University of California Press, 2004, ISBN 0520238451) |
| 2005 | Finalist: Elijah Wald | Escaping the Delta: Robert Johnson and the Invention of the Blues (Amistad Press, 2004, ISBN 0060524235) |
| 2004 | Daniel Heartz | Music in European Capitals: The Galant Style, 1720-1780 (W. W. Norton & Co., 2003) |
| 2004 | Finalist: Wendy Heller | Emblems of Eloquence: Opera and Women's Voices in Seventeenth-Century Venice (University of California Press, 2003) |
| 2004 | Finalist: Christopher Reynolds | Motives for Allusion: Context and Content in Nineteenth-Century Music (Harvard University Press, 2003) |
| 2003 | Anne Walters Robertson | Guillaume de Machaut and Reims: Context and Meaning in His Musical Works, (Cambridge University Press, 2002) |
| 2003 | Finalist: Richard Leppert | Essays on music (Theodor W. Adorno): Selected, with Introduction, Commentary, and Notes (University of California Press, 2002) |
| 2002 | Ellen T. Harris | Handel as Orpheus: Voice and Desire in the Chamber Cantatas (Harvard University Press, 2001) |
| 2001 | Laurel E. Fay | Shostakovich: a Life (New York: Oxford University Press, 2000) |
| 2001 | Christoph Wolff | Johann Sebastian Bach: The Learned Musician (New York: W. W. Norton & Co., 2000) |
| 2000 | Mary Hunter | The Culture of Opera Buffa in Mozart's Vienna: A Poetics of Entertainment (Princeton University Press, 1999) |
| 2000 | Thomas J. Mathiesen | Apollo's Lyre: Greek Music and Music Theory in Antiquity and the Middle Ages (University of Nebraska Press, 1999) |
| 1999 | Jane A. Bernstein | Music Printing in Renaissance Venice: the Scotto Press (1539-1572) (New York : Oxford University Press, 1998) |
| 1999 | John A. Rice | Antonio Salieri and Viennese Opera (Chicago: University of Chicago Press, 1998) |
| 1998 | Scott DeVeaux | The Birth of Bebop: a Social and Musical History (Berkeley: University of California Press, 1997) |
| 1997 | Richard Taruskin | Stravinsky and the Russian Traditions (Berkeley: University of California Press, 1996) |
| 1997 | Laurence Dreyfus | Bach and the Patterns of Invention (Cambridge: Harvard University Press, 1996) |
| 1996 | Charles Rosen | The Romantic Generation (Cambridge: Harvard University Press, 1995) |
| 1995 | Richard Kramer | Distant Cycles: Schubert and the Conceiving of Song (Chicago: University of Chicago Press, 1994) |
| 1994 | Margot Fassler | Gothic Song: Victorine Sequences and Augustinian Reform in Twelfth-Century Paris (Cambridge: Cambridge University Press, 1993) |
| 1993 | Eric Chafe | Monteverdi's Tonal Language (New York: Schirmer, 1992) |
| 1993 | Lewis Rowell | Music and Musical Thought in Early India (Chicago: University of Chicago Press, 1992) |
| 1992 | James Webster | Haydn's "Farewell" Symphony and the Idea of Classical Style (Cambridge: Cambridge University Press, 1991) |
| 1991 | No Award | |
| 1990 | Thomas Forrest Kelly | The Beneventan Chant (Cambridge: Cambridge University Press, 1989) |
| 1990 | Craig Wright | Music and Ceremony at Notre Dame of Paris, 500–1550 (Cambridge: Cambridge University Press, 1989) |
| 1989 | Maynard Solomon | Beethoven Essays (Cambridge: Harvard University Press, 1988) |
| 1988 | Karol Berger | Music Ficta: Theories of Accidental Inflection in Vocal Polyphony from Marchetto da Padua to Gioseffo Zarlino(Cambridge: Cambridge University Press,1987) |
| 1988 | Anthony Seeger | Why Suya Sing: A Musical Anthropology of an Amazonian People (Cambridge: Cambridge University Press, 1987) |
| 1987 | Frederick Neuman | Ornamentation and Improvisation in Mozart (Princeton: Princeton University Press, 1986) |
| 1986 | Douglas Johnson, Alan Tyson And Robert Winter | The Beethoven Sketchbooks: History, Reconstruction, Inventory (Berkeley: University of California Press, 1985) |
| 1985 | Lewis Lockwood | Music in Renaissance Ferrara, 1400–1505: the creation of a musical center in the fifteenth century(Cambridge: Harvard University Press, 1984) |
| 1984 | Howard Mayer Brown | A Florentine Chansonnier from the Time of Lorenzo the Magnificent (Chicago: University of Chicago Press, 1983) |
| 1983 | Edwin M. Good | Giraffes, Black Dragons, and other pianos: a Technological History from Cristofori to the Modern Concert Grand (Palo Alto: Stanford University Press, 1982) |
| 1982 | Joseph Kerman | The Masses and Motets of William Byrd (Berkeley: University of California Press, 1981) |
| 1981 | George Perle | The Operas of Alban Berg: Volume I, Wozzeck (Berkeley: University of California Press, 1980) |
| 1980 | Leeman L. Perkins & Howard Garey | The Mellon Chansonnier (New Haven: Yale University Press, 1979) |
| 1980 | Nicholas Temperley | The Music of the English Parish Church (Cambridge: Cambridge University Press, 1979) |
| 1979 | No award | |
| 1978 | Richard L. Crocker | The Early Medieval Sequence (Berkeley: University of California Press, 1977) |
| 1977 | H.C. Robbins Landon | Haydn: Chronicle and Works, Vol. III: Haydn in London 1791–1795 (Bloomington: Indiana University Press, 1976) |
| 1976 | David P. McKay & Richard Crawford | William Billings of Boston: eighteenth-century composer (Princeton: Princeton University Press, 1975) |
| 1975 | Vivian Perlis | Charles Ives Remembered: an Oral History (New Haven: Yale University Press,1974) |
| 1974 | Robert L. Marshall | The Compositional Process of J.S. Bach (Princeton: Princeton University Press, 1972) |
| 1973 | H. Colin Slim | A Gift of Madrigals and Motets (Chicago: University of Chicago Press, 1972) |
| 1972 | Albert Seay | Jacobus Arcadelt, Opera Omnia, vol. II ([Tübingen:] American Institute of Musicology, 1971) |
| 1971 | Daniel Heartz | Pierre d‘Attaingnant, Royal Printer of Music (Berkeley: University of California Press, 1970) |
| 1971 | Joseph Kerman | Ludwig van Beethoven, Autograph Miscellany from ca. 1786 to 1799. British Museum add. ms. 19801 (The ‘Kafka Sketchbook’) (Oxford University Press, 1970) |
| 1970 | Nino Pirrotta | Li Due Orfei, da Poliziano a Monteverdi (Turin: RAI, 1969) |
| 1969 | Edward Lowinsky | The Medici Codex of 1518 (Chicago: University of Chicago Press, 1968) |
| 1968 | Rulan Chao Pian | Sonq Dynasty Musical Sources and their Interpretation (Cambridge: Harvard University Press, 1967) |
| 1967 | William W. Austin | Music in the Twentieth Century (New York: W. W. Norton, 1966) |
